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THE HANDMAID'S TALE: SIXTH AND FINAL SEASON delivers a powerful conclusion to an all too real series, blending drama and suspense with thought-provoking themes. This season ties up longstanding storylines and introduces fresh perspectives that engage the narrative. I’d be lying if I said this series was an easy watch, not because it’s ever bad, but because a series meant as a dystopian nightmare has too many real-world moments as of late.

If a fall from grace used to come with front-page headlines, now it’s more likely to be buried under an outdated YouTube banner and a forgotten TikTok soundbite. THE EGO DEATH OF QUEEN CECILIA takes that modern tragedy and crafts it into a gripping, sometimes bleak, sometimes darkly funny drama that pushes its central character to the brink of obscurity—and then keeps going. This isn’t a story about losing relevance. It’s about how dangerously easy it is to think relevance is all you have.

There’s something uniquely thrilling about watching a film embrace its weirdness with a full heart—and then use it to say something real. A CERTAIN METHOD is a story that sneaks up on you with a wild premise and turns it into a biting reflection on creative survival instead of playing it for cheap thrills. This sort of horror-comedy hybrid has more to say than you'd expect—and says it with just enough madness to leave a lasting mark.

There’s a certain kind of movie that doesn’t try to grab your attention—it slowly pulls you into its characters until you’re trapped in its perspective. THE OLDEST PROFESSION fits that mold perfectly. Marketed under a label associated with erotica, this 1974 entry is anything but ordinary. It takes the studio-mandated requirements—frequent sex scenes, provocative settings—and flips them into something bolder, more unsettling. The result is less about desire and more about survival, with a story that digs into exploitation and social abandonment systems with a sharp, unflinching eye.

ONE DAY THIS KID doesn’t just tell a story—it gives you the sense that you’ve been allowed to overhear something rarely said out loud. There’s an unassuming boldness in how it moves, scene by scene, not trying to strike but instead asking you to reflect, to remember, and maybe even to see yourself differently. It’s not concerned with checking boxes or fitting into the usual dramatics—it’s focused on truth, the quiet kind often ignored in favor of something more polished. And that truth hits hard.

Few Hollywood stories capture as much heart, grit, and glamour as the life of Liza Minnelli, and Bruce David Klein’s documentary LIZA: A TRULY TERRIFIC ABSOLUTELY TRUE STORY does an impressive job balancing the spectacle with personal sincerity. Rather than just another celebrity documentary ticking off career highlights, this one offers a fresh perspective on what makes Minnelli an unforgettable entertainer and an intriguing human being. Klein carefully crafts a narrative that feels like discovering the person behind the performer, rather than merely a chronological account of her celebrity status.

DON’T TURN OUT THE LIGHTS opens with a clever sleight-of-hand. Right from the opening scene—a child's gentle humming twisted into something quietly menacing—there’s a promise that the film intends to keep you with that uneasy feeling. This supernatural horror outing is ambitious in its attempt to fuse familiar scary-movie tropes with an unnerving, closed-in atmosphere, though it stumbles more often than succeeds.

Slipping comfortably into the latest season of ABBOTT ELEMENTARY: THE COMPLETE THIRD SEASON is like revisiting a classic favorite: It is instantly familiar but peppered with delightful new twists that keep the experience fresh. The show’s blend of comedy, well-developed characters, and pointed commentary about the realities of American education continues to charm. This third season expands on previous storylines, adding refreshing depth to well-known faces without losing sight of the warmth that initially drew audiences to its quirky Philadelphia classrooms.

Romantic comedies often promise a charming escape but rarely deliver something genuinely memorable. Too often, they're predictable, serving familiar scenarios without depth. Yet, a film surprises us now and then—not by reinventing the genre but by genuinely investing in its characters, creating authentic and relatable connections. Roshan Sethi’s A NICE INDIAN BOY is a delightful surprise, blending humor and genuine emotion within a vibrant exploration of culture, identity, and the modern dating experience.

The kind of project that only gets made when two directors cash in on their blockbuster cred and decide to get weird, FREAKY TALES is the right kind of chaos. Directed by Anna Boden and Ryan Fleck, this multi-genre anthology doesn’t just look back at 1987 Oakland—it energizes it. It’s messy, loud, and a little all over the place. But it’s also bursting with creative vision, cultural specificity, and a refreshing willingness to take wild swings. It’s the kind that doesn’t always hit center field, but the crowd still jumps out of their seats.

SHIP OF DREAMS: TITANIC MOVIE DIARIES doesn’t overreach or try to amplify drama. It’s a heartfelt backstage pass that thrives on memory, emotion, and on-set stories. The surprise here is how engaging it is to see a project reclaim overlooked perspectives and find beauty in the margins of movie history.

Historical dramas rarely walk the tightrope like this one. AN AMOROUS WOMAN OF TANG DYNASTY refuses to settle into a single identity—it balances romance, tragedy, rebellion, and visual grandeur with the energy of a filmmaker trying to push genre boundaries. While the storytelling isn’t without its stumbles, this film crafts an atmosphere so rich that even its narrative gaps become part of the experience.

There’s something undeniably fascinating about a villain whose presence lingers long after their death. That’s the hook behind MABUSE LIVES!, a six-film box set from Eureka Entertainment and MVD Entertainment that taps into the persistent shadow of Dr. Mabuse—a criminal icon whose influence transcends time, place, and even physical form. Across these films, shot between 1960 and 1964, Mabuse becomes more than a person. He’s an idea—malleable, intangible, and always waiting in the wings to strike again. And while the quality of these entries varies, the set captures something deeply compelling about the evolution of genre storytelling, the nature of evil, and the shifting cultural fears of the mid-20th century.

Nothing about this movie was supposed to work—until it did. An after-hours shoot, a workplace transformed into a horror set, no formal script, and a cast and crew working in secret? Sounds like a recipe for chaos. But MEGA BLOOD MOON: THE FREELANCER thrives on that chaos. What starts like an improvised experiment winds up somewhere more layered, channeling raw creativity into a hybrid of horror, comedy, and surreal existential panic.

The mid-70s fascination with anti-establishment adrenaline hit another checkpoint with Mark L. Lester’s BOBBIE JO AND THE OUTLAW. Equal parts road trip mayhem and outlaw-fantasy fever dream speeds past the usual character arcs and lands squarely in the corner of genre cinema. While the storytelling never quite hits the brakes for nuance, it delivers enough havoc to make the ride memorable.